Created by Loren Judah2010graphic design and exploration

The desert environment is a fun blank canvas to work from. Not only does it allow you to set a scene in it much the same way you would a studio setup, but it immediately grounds your scenes in vast world. This scene was created as an off-project exploration in environmental locations using 3D. The goal was to simply create a desert location where a camera may look in any direction for a new and unique view. A 360 matte painting was created to accompany the desert floor. Cinema 4D with VRay was used for final renders. The desert scene was later adapted for use on various commercial projects at Superfad Seattle. The images displayed below are from an early concept using the initial desert scene as a location for an epidemic of obsidian tendrils bursting out of the cracked ground.

I'm always interested in setting the scene first and allowing ideas to unfold in it. The visual boundaries constantly need to be pushed but first we need to step back and understand what it takes to create a compelling narrative. When I find that rare free moment to explore my personal interests, I often land in a narrative scene where I can quickly express my initial ambitions. Creating the desert scene offered me an outlet to try new techniques in a setting I had yet to explore. What this scene can accomplish may be as simple as a commercial or complex as a long-form narrative. Reaching out to create concepts like this helps jump start those ideas.

Joe Saturday
Created by Loren Judah & Joe Kadera2008Mixed media narrative

Joe Saturday is a young, worn out detective on the case to find his kidnapped love, Scarlet. This 10 minute pilot episode was created as a thesis for Loren Judah while at the Art Institute of Portland. This was the first episode in a 7 part miniseries, each episode at 15min in length. In this pilot episode Joe Saturday first escapes some bare knuckle captors as he chases after a reporter friend, Azure. Leaping off of cloud-capped skyscrapers and plunging into moving vans, Joe rescues Azure and learns of Scarlet's whereabouts. Joe then travels to a remote island to find Scarlet's captor, Simon. After a brief and useless confrontation, Simon escapes with Scarlet in a Russian helicopter. joe eventually gives chase and sets up the stage for the next episode.

While being used as thesis project for Loren Judah, Joe Saturday was also a long running project for Joe Kadera. The primary focus for the project was being able to direct and create a 15min live action and animation pilot episode entirely on Green Screen with very limited funding. The whole project was shot over the course of 2 days in an elementary school gymnasium in Scappoose, Oregon. The shots were then composted onto built 3D elements in various programs. The final piece was shown in Portland 5 months later.

Created by: Loren Judah || Joe Kadera

Screenplay by: Joe Kadera

Preguntas Hermosas
Created at Superfad2010Animated narrative

First initiated as an in-house narrative by creative director David Viau, Preguntas Hermosas quickly exploded into a passionate production from all in-house talents and a few freelance artists. Over the course of 6 months, during personal free time, the Superfad Seattle team took on the project. Each artist from 3d and 2d owned their shots from beginning to end which brought a strong sense of ownership to a project that may have never seen the light of day otherwise. The end result is a beautifully touching narrative derived from Pablo Neruda and Carl Sandburg and complimented with striking visuals.

Director: David Viau

Executive Producers: Chris Volckmann and Will Hyde

sony Eye Candy
Created at Superfad2010Mixed Media Narrative

Superfad crafts a surrealistic narrative out of the beautiful images brought forth from the vivid representation of color. Sony "Eye Candy" aims to visually inspire with intricately designed shots expressing the birth of color and the effect it has on our senses. Bold color pallets and cinematic photography are only part of the story envisioned by Creative Director Will Hyde and Art Director Carlos Stevens. From the very start, the viewer is shown a singularity. A dot, the birth of what is the "Make.Believe campaign" set forth by Sony. From this dot we are brought into the color storm with the wave of a paintbrush and the breaking of a shell. The catalyst for the overwhelming color displays to come.

Director:Will Hyde

Executive Producer:Rob Sanborn

Head of Production:Chris Volckmann

Editor:Ryan Haug

Compositors:Tom Oakerson, Paulo Dias, Loren Judah, Dorian West, Sohee Sohn, John Stanch, Soyoun Lee, Dimitri Luedemann, David Holm

CGI/VFX Director:Dade Orgeron

3D:Tom Oakerson, Phiphat Pinyosophon, Andrew Butterworth, Yas Koyama, Alex O'Donnell, Dimitri Luedemann, Billy Maloney

The Daily
Created at Superfad2010Design Boards

For the launch of the first all tablet based newspaper "The Daily", Superfad was asked to offer an approach that carried the message of bringing the world of news up to date with our digital world. Our approach was simple and crafted a new tabletop world from the history of newsprint media. With the Daily being an app that brings the world of news media to your iPad, we chose to take iconic news media elements and with a paper origami approach, allow those scenes to emerge from the iPad. The result is a highly detailed view of the contemporary news media world with a nod to it's past.

Designers: Carlos Stevens and Loren Judah

Nike Talon
Created at Superfad2011Design Boards

What happens when a top shoe brand approaches you for a unique video breakdown of their new, highly advanced shoe? Well, we throw everything at it, and then some. Superfad was given a brief that highlighted the shoe's unique abilities and decided we really needed a good way to showcase this where a simple close up wouldn't work. Metaphors seemed to us to be the best way at grabbing the viewers attention to a product that in reality might be limited to the turf. Giant drills, Oversized landing gear, and a carbon fiber loom specially tailored for the shoe were what sprung to mind. Our pitch passed the test and we ended up making a spot for the Nike Talon shoe and shirt. My designs are below.

Executive Creative Director: Will Hyde

Creative Director: Izik Roitman

Design: Loren Judah

Executive Producer: Chris Volckmann

Created at Superfad2011Design Boards

Pella windows are known around the world for their innovative features wrapped up in a strong and elegant window package. They approached Superfad looking for a couple of animated spots that feature what they make as a company while channeling their elegant sense for aesthetics. With a new product hitting the market that embeds window blinds within panes of glass, Pella was looking for a narrative that revealed this new feature in a compelling way. My approach was deconstructing the window in a soft elegant way and re-build into an abstract duster using the same window elements. Where this concept really comes to life is in the showcase of all the precision elements built into each window and how these elements are re-combined to re-imagine a mundane object like a duster into something beautiful.

Designer: Loren Judah
MLB All Star
Created at Superfad2011Design Boards

Major League Baseball wanted an approach for their 2011 all star game that would be bold, fresh, and unique. So I took the visual of the baseball, deconstructed it and then created a would where it may be reconstructed from a unique angle. My approach was to start the viewer off in a desolate, surreal landscape where our "all-stars" dive down and begins to tear cracks in the ground. From within these cracks comes out red tether and with an animalistic instinct, begin to chase after the stars. Diving repeatedly in and out of the ground, these tethers begin to form the balls stitching. After a moment, a monolithic shape bursts out of the ground sending debris into the air. Though this chaotic display our camera chases along taking a personality of it's own trying to catch the best angle of the action. On the sides of this monolithic structure we see game footage and players. A top down view adds another angle and begins to show in more detail just how the red stitching is sewing up the landscape. One last shot shows a very rounded horizon os two stitch lines meet and with this, our camera shoots back up revealing a completed baseball on the pitches mound in a packed stadium. A beat later, a player reaches down and picks up the ball.

This pitch was ultimately passed on but one I feel strong enough about to explain in greater detail. I saw a baseball and wondered if there would be a point up close on the ball when a different landscape might emerge. Much like macro photography but where the camera can exist as a macro element as well. Objects all have unique textures which can be blown up to incredibly detail today, this is not new. What interest me is allowing this idea of unusual landscapes to serve a dual purpose.

Honda Safety
Created at Superfad2011Design Boards

Honda is known for their award winning safety. Their commercials all voice the same brief line ?5 star safety?. The question posed here was a challenge revolving around taking that familiar safety message and breathing new life into it. Give the message impact with a more memorable takeaway.

The approach was simple yet concise. Take the many variations of adds describing 5 star safety around various points of other brand cars and line them all up to create the Honda Accord silhouette. The takeaway; other brands tout 5 star safety but only in one area of their cars. Combine all the 5 star safety sections of other cars and you?ll get the all around 5 star safety rated Accord. Our setting, an elegant stage with our focus on the overwhelming ads pulling away to reveal the beautiful detailed Accord front and center. No need to try and over-design around an already impressive product.

Designer:Loren Judah

netflix Genres
Created at Superfad2011Loren Judah

The movie genre is all something we are familiar with. Action, romance, adventure, sci-fi, and documentary to name a few. With Netflix and Goodby Silverstein and Partners, we were given the opportunity to help realize a campaign that would capture these ideas. We worked closely with Goodby to create spots which show small moments from many genres. Each spot takes the viewer quickly through 3 genres, rapid fire, then out to a moment of actual product interaction. The real challenge here being the genre moments in their very tight and concise vignettes. What the viewer ends up bering witness to is a brief jaunt through cinema cliches that not only poke fun at the ideas, but sums them up in a small, instantly viewable package.

Director:Will Hyde

Executive Producer:Chris Volckmann

Producer:Nannette Buroker

Art Director:Loren Judah

Editor:Doron Dor

Compositors:Loren Judah, Joel Voelker, Shuyi Wu, Lu Liu, Paul Cantor, Carlos Foxworthy, Brian Merrell, Paul Barkshire, Paulo Diaz

3D:Matt Guzzardo, Adam Rosenzweig, Jeff Chavez, Robin Scher, Patrick Clarke, Andrew Butterworth, Phiphat Pinyosophon, Cody Smith, Alek Vacura

xbox Frost
Created at Superfad2011Art Direction

A snowflake that dynamically transforms to reflect the game content on screen. This was the idea and brief given to Superfad. Art Director Loren Judah took on the task of visualizing this quick bumper for the Microsoft Xbox team that would feature two of the most popular games on the market; Halo and Fable. The challenge came from balancing the visual weight of each game's assets while they transformed throughout the spot. The team at Superfad were given some game asset models to texture and light and were also required to create new models that would reflect other game assets not easily provided. The end result is a kaleidoscopic crystallization effect transforming Halo game assets into Fable assets all over the course of 15seconds. A challenge to be sure but a nice payoff in the end.

Client: Microsoft

Art Director: Loren Judah

Lead 3D Artist: Matt Guzzardo

Producer: Jen Shmithorst

3D Artists: Raphael Protti, Phiphat Pinyosophon, Andrew Butterworth, Greg Bekken, Patrick Clarke, Adam Rosenqweig

Compositors: Paul Cantor, Loren Judah, Paul Barkshire, Joel Voelker

mission Control
Created at Superfad2011Art Direction

Deep within the Superfad compound exists an unmarked room. This room, known only by it's giant 15ft doors, is the nerve center for Superfad global logistics. We present the viewer with an interactive look at a few of the devices used on a daily basis at Superfad. The global data visualizer is the first and primary interactive visualizer which shows all internet traffic to the Superfad servers. A user can interact with this 3 dimensional globe spinning it for a different view and honing in on an exact global location. The information potential here is limitless, though we are not at liberty to discuss what Superfad uses this information for.

The Global Data visualizer was created by both Scott Garner and Loren Judah. All build and implementation was created by Scott Garner. The design and overall layout was created by Loren. This was a side project for both which quickly gained attention internally and externally once the possibilities for cinematic webGL were shown off. Anyone can interact with the project using either Firefox or Chrome web browsers.

Interactive Director: Scott Garner

Art Director: Loren Judah

Created at Superfad2012Art Direction

Nike approached Superfad to help craft an interactive and animated campaign for the launch of the latest Nike+ products which measure height, speed, and distance of the user. With such a groundbreaking product, Nike was looking for design and animation that complimented the product while never taking away from it.

The finished product was a series of interactive animations that would allow for an engaging in store experience showing key features of each shoe and two spot driven animations for the Hyperdunk and Lunarlon running shoes. The project evolved with Nike from it's initial boards into a concise animation that cleanly showcases the shoes.

Executive Creative Director: Will Hyde

Art Director: Loren Judah

Producer: Jen Schmithorst

Executive Producer: Chris Volckmann

Lead CG: Matt Guzzardo

Lead Compositor: Joel Voelker

3D Artists: Jeff Chavez, ShuChen Lin, Phiphat Pinyosophon, Andrew Butterworth, Greg Bekken, Patrick Clarke, Adam Rosenqweig

Compositors: Paul Cantor, Loren Judah, Paul Barkshire, Joel Voelker

Fox College Football
Created at Superfad2012Art Direction

Fox sports design came to Superfad with a request. They needed a promo package for their new College football programing. Something that was energetic, poppy, and on brand with the dramatic tone set by Fox Sports. The concept; a cube which transforms out into a massive abstraction of college football icons and themes. The challenge; well, beyond the obvious giant party machine, creating a semblance of coherency in what initially feels like a smattering of stuff.

Our solution for such a dramatic and abstract idea was to give this machine a reason. Give it a seemingly operable structure while keeping the abstract nature of the overall style. The end result is a giant robotic machine which appears to be growing continuously outwards revealing sections within to host the various footage and team assets. When it all comes together what are you left with? I giant football loving/collecting robotic party machine of course!

Executive Creative Director: Will Hyde

Art Director: Loren Judah

Producer: Aimée Safko

Executive Producer: Chris Volckmann

Lead CG: Matt Guzzardo

Lead Compositor: Joel Voelker

3D Artists: Mirelle Underwood, Weichieh Yu, Phiphat Pinyosophon, Andrew Butterworth, Greg Bekken, Patrick Clarke, Adam Rosenqweig

Compositors: Dorian West, Paul Cantor, Loren Judah, Paul Barkshire, Chris Hunsberger, Kaleb Coleman, Jose Diaz

JJ Sandwich Cannon
Created at Superfad2013Art Direction

We've always been on a never-ending quest aimed to figure out "What strange THINGS can we launch at PEOPLE?". Well thankfully Jimmy Johns and the good people at Evolution Bureau came to us just at the right time. Their request: "We want to launch THINGS out of CANNONS at PEOPLE." Everything which came henceforth is known as the Jimmy Johns Sandwich Cannon, an iOS app which gives the user the ability to launch sandwiches, money, water balloons and even cats at unsuspecting, live targets. As an added bonus, we built in the ability to live record this action and send your subjects an instant replay of your destructive tendencies.

Under the hood, the explosions are all procedurally generated and the recording is done on the fly. This allows you to hit record, make it rain, then send that video taunt to your friend. We've also used some real-time compositing tricks to amp up the explosive mayhem. Something we leveraged from our compositing know-how. Sandwiches and sandwich ingredients were made first in 3D then touched-up to make the delicious results. All of these elements were brought together to make up an app which utilizes over 1,000 individual sprites, composited animations, overlays, and an arsenal of sandwiches and strange objects designed to provide unlimited, perhaps questionable, re-playability.

Creative Director: Will Hyde

Art Director / 3D / Designer:
Loren Judah

Compositors: Jose Diaz, Paul Barkshire, Loren Judah

Lead Developer: Jason Lust

iOS Developers: Robert Eickmann, Benjamin Van Citters

Prototypes: Brent Watanabe, Beck Henderer-Peña

Senior Interactive Producer:
Beck Henderer-Peña

Executive Producer: Chris Volckmann Dramatizer
Created at Superfad2013Art Direction

Adding drama to a scene is something we do and do quite well. So when the gang at Piston came to us with the concept of adding drama to relatively normal scenes for interactive banners, we couldn't pass up the opportunity.

Not only was this a fun and quirky VFX project but it came with a new set of rules.

First, it had to be a fun spot that amped up the drama. Second, we wanted to give the viewers the ability to add drama by interacting with the spot. Third, it's primary application is web banner advertisements. Knowing these rules gave us a very solid platform for which we could craft our over-the-top narratives.

We approached the spots as typical VFX spots. Multiple Shoot days, full 3d production team, and full compositing team. The trick came down to the looping assets which needed to be seamless in all areas if the user chose not to add drama. Through a careful combination of on-set talent direction and post manipulation, we created interactive spots that could move as fast or slow as the user dictated through the use of adding drama. The end result are banners which showed up on major websites during the super bowl and beyond. Users were enticed, then transported into a narrative full of ridiculous drama and intensely rich visuals. All for for which they proclaimed "that was dramatic!"

Director: Will Hyde

Art Director / Designer:
Loren Judah

Compositors: Paul Cantor, Paul Barkshire, Kaleb Coleman, Brian Merrell

3D Lead: Matt Guzzardo

3D modeling & Texture: Adam Rosenqweig

3D Lighting: Andrew Butterworth

3D animation: Patrick Clark, Greg Bekken

Lead Developer: Brent Watanabe

Prototypes: Brent Watanabe, Beck Henderer-Peña

Senior Interactive Producer:
Beck Henderer-Peña

Executive Producer: Chris Volckmann

Abstract Delusion
Loren Judah

An experiment with shape and color interaction.

History Clock
Loren Judah

At the intersection of Pike and Broadway in Seattle WA, USA, time passes by in an ever changing confluence of direction and speed. What you see above is a snapshot at the current time of 1:36 PM. The bright yellow color indicates the past 12 hours in the AM time period. The Dark Aqua is the PM hour history. The median ring separates more activity from less and solid from diagonal lines.

As a designer who takes great inspiration from deliberate and refined art forms, I've become very fascinated with the reactive medium. This history clock experiment was very much that. This being the first attempt at reactive art, I really wanted to capture a relatively simple set of rules and data and present it in a way where at first glance, the viewer can formulate their own opinion and reaction to the art. When the viewer takes a closer look and realizes each and every piece of color represents a deliberate set of data, that?s when this piece really starts to come alive. I really want a passerby to enjoy it for a simple and abstract design and let them dive deeper into how it creates itself.

Loren Judah

A brief exploration on the daily process exhibited by Loren Judah. Expanding upon this data in a 3-dimensional, sculptural piece reveals forms which make us think a bit deeper into what an artist's mental process actually looks like.

The goal is for the piece to live as a large 6ft wide reactive wall instillation in which the membrane stretched forms move to create unique data visualizations directly input from the viewers. These visualizations include the viewers heartbeat, the waveform from the sound in the gallery and the seismic readings in the gallery.

Loren Judah

El Palau de les Arts Reina Sofía. Valencia Spain. A shot I took on a recent trip. Santiago Calatrava never fails to inspire me.

Loren Judah
Designer / Director//Seattle

I try not to take myself too seriously. As an artist, director and someone who just enjoys making things, often the intensity of inspiration fills that void. I find myself always balancing the line between form and function while never letting go of what makes this all worth it; A personal passion that motivates beyond comprehension. With this, I am constantly pushing to elevate an idea or inspire a completely new one.

My work is a direct reflection of who I am as an artist; dark, dramatic, slick and a persistent tilted view of the world. Jokes aside, I love what I do and never want to stop looking for reasons to keep on the evolving pursuit. None of this is meant to be overly pretentious for which I hope my work and personality set that record straight. It's my passion and my life and there needs to be room for both drama and baguettes in all of it.

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Joe Kadera
Writer / Director //Portland

The top of my head doesn't have as much hair on it as it used to, and my stigmata has been acting up. But as I get older, I start to focus my energy in one theme while exploring all avenues to that core idea. Robots will do everything. They do a lot now, but before I die they will do so much more, and I'd like to explore that idea, and predict what comes 100 years after that. I see a place where everything I do becomes part of that one large idea, where my writing, my photography, the design I dabble in, programming, or art, is part of the same story.

I think people worry too much about technology controlling our lives. I think we are more efficient at just about anything you can name than we ever have been before as a species. I think good design requires function above all, even at the sacrifice of aesthetics. I think this doesn't mean a cold future, but it does mean an even more efficient one. If the robots will do everything, after all, I think we will need all the help we can get from our current and future selves.

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